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The End of Life As “Non” Death

100%
Tarca L. V.
Ethics in Progress
|
2019
|
vol. 10
|
issue 1
153-172
EN
Taking the cue from some verses of Rilke’s Duineser Elegien, where the poet talks about the distinction between life and death, a distinction which mortals perform too rigidly, in this paper I discuss the contrast just between life and death, in order to understand the conditions under which the first truly distinguishes itself from the latter. This happens to the extent that life is also distinguished from the denial of death because otherwise, being the negation a form of necation (nex = killing, murder), the presumed denial of death would reverse in a triumph of death. In the present age this circumstance is particularly evident and significant, since humanity aims at a technological realization of im‑mortality, understood as the denial of death. To the extent that this remains a negative operation, it takes the form of the scrapping of mortals. True liberation/salvation from death presupposes that the negation itself is called into question. Only on this condition, in fact, is possible a life free from any form of necation. This freedom presupposes, inter alia, a “non” education, intended as an education to be able to freely play with the negative of death and denial.
2
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Der Mensch im Tiergewand. Rilkes Panther und seine Bedeutung in der Corona-Pandemie

65%
Jänchen A.
Wortfolge. Szyk Słów
|
2022
|
vol. 6
1-16
EN
The article examines the role of Rilkeʼs panther in Marica Bodrožićʼs Pantherzeit, an essay about the first corona lockdown in spring 2020. The approach is based on the methods of cultural animal studies. What can human-animal relationships contribute to understanding exceptional situations and crises such as the Covid19 pandemic? To answer this question, Bodrožićʼs panther is examined in terms of its contextualization, historicization and poetization. It becomes clear that human-animal relationships that deviate from conventional, anthropocentric readings can trigger a reorganization of self-images, identities and attitudes towards life.
PL
Przedmiotem artykułu jest figura pantery, zaczerpnięta z wiersza Rilkego, do której odnosi się esej Pantherzeit [Czas pantery] Marici Bodrožić o lockdownie, spowodowanym pierwszą falą koronowirusa wiosną 2020 roku. Posiłkując się metodologią Cultural Animal Studies, autorka artykułu formułuje następujące pytanie: w jaki sposób relacje między człowiekiem a zwierzęciem mogą przyczynić się do lepszego zrozumienia sytuacji wyjątkowych oraz kryzysowych, w tym pandemii koronawirusa. Analiza eseju odnosi się do trzech kwestii: kontekstualizacji, historycyzacji oraz poetyzacji postaci pantery. Wynika z niej, iż interpretacja relacji między zwierzęciem a człowiekiem, wykraczająca poza typowy, antropocentryczny rodzaj lektury, może skutkować wytworzeniem nowych modeli autoprezentacji, tożsamości oraz przewartościowaniem stosunku do życia.
DE
Der Beitrag untersucht die Rolle von Rilkes Panther-Figur in Marica Bodrožićs Pantherzeit, einem Essay über den ersten Corona-Lockdown im Frühjahr 2020. Die Herangehensweise orientiert sich an den Methoden der Cultural Animal Studies. Was können Mensch-Tier-Beziehungen zum Verständnis von Ausnahmesituationen und Krisen wie der Covid19-Pandemie beitragen? Um diese Frage zu beantworten, wird Bodrožićs Panther-Figur hinsichtlich ihrer Kontextualisierung, Historisierung und Poetisierung untersucht. Dabei wird deutlich, dass Mensch-Tier-Verhältnisse, die sich von herkömmlichen, anthropozentrischen Lesarten entfernen, eine Neuordnung von Selbstbildern, Identitäten und Lebenseinstellungen anstoßen können.
3

The Cloth of Man. Contribution to a Study on the Human-Animal Pathos

63%
Mościcki P.
Dialogue and Universalism
|
2014
|
issue 1
115-120
EN
The main question of my paper—inspired by Aby Warburg’s notion of Pathosformeln and his reading of Darwin’s The Expression of the Emotions in Man and Animal— is how animals can represent pathos of human experience in a way, which humanistic, purely anthropocentric forms of expression can no longer account for. In order to present my argument I would like to analyse three examples from literature. Rainer Maria Rilke’s Malte, Thomas Bernhard’s Distortion and W. G. Sebald’s Austerlitz. In all three cases animal are necessary to express human pathos but the intensity of this expression seems to go far beyond the limits of the traditional human-animal division.
4
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Premodernizm, dekonstrukcjonizm, „proteuszowość” Norwida

62%
Samsel K.
Świat Tekstów. Rocznik Słupski
|
2015
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issue 13
101-120
EN
Summary The study focuses on the specific way of seeing Norwid and his works in the light of four Wiesław Rzońca’s treatises, significant and controversial among all Polish norwidologists’ studies: Norwid. The Poet of Writing. The Attempt of the Work Deconstruction (1995), Witkacy – Norwid. The Draft for the Deconstructional Comparatistics (1998), Norwid and Romantism in Poland (2005) and eventually Norwid’s Premodernism – on the Backgrounds of Literary Symbolism of the Second Half of the Nineteenth Century (2013). Author of this sketch attempts to visualise the internal evolution of Rzońca as a scientist, the evolution that reflects his (Rzońca’s) permanent admiration to the deconstructional comparatistics. This one choice of research – strongly declarative – leaded Rzońca to the highly uncertain and riskful as well as to the inevitably inspiring and regenerating (explicitly for norwidology, implicitly for comparatistics) conclusions. The last Rzońca’s book concentrated on tracing the reminiscent motifs of Norwid’s writing, which may bring him together with the well-known masterpieces of European premodernism and modernism, finally confirms and simultaneously (in some meaning) ultimately ends the Rzońca’s postmodernist path of reading Norwid.
5
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Poeta, który „znalazł się w Nigdzie”. Poemat "Orfeusz i Eurydyka" Czesława Miłosza

51%
Spólna A.
Przegląd Humanistyczny
|
2016
|
vol. 60(2 (453))
165-173
PL
The essay examines the references of Orpheus and Eurydice by Czesław Miłosz to earlier literary incarnations of myth of Orpheus (from Virgil and Ovid to Rilke). It indicates the internal context of a memorial poem, which are not only senilia of the poet, but also reflections on suffering, death, responsibility of the artist for words and rebellion of poetry against nothingness, dispersed in many earlier works starting from the 1930s.
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